Description
Copies available of the deluxe edition of 200 copies worldwide. Even to book sellers these were extremely limited and not subject to the normal trade discount.
Book : signed & numbered on title page by authors Irmin Schmidt and Rob Young
Format: Hardback (234x156mm) on bespoke printed clamshell box.
Studio notebook exclusive to this edition) : 78-page full colour facsimile of Can’s one-off communal studio notebook. Features: Scribbles and jottings by all the band members including handwritten lyrics (in Japanese) by Damo Suzuki, drum kit layouts by Jaki Liebezeit
Limited edition print: signed & numbered by Irmin Schmidt Deluxe clamshell box: Covered and lined in Colorplan Smoke paper, artwork blocked in two pigment colours.
Last copy : Unopened package #137/200
Blur from Faber website :
All Gates Open presents the definitive story of arguably the most influential and revered avant-garde band of the late twentieth century: CAN. It consists of two books.
In Book One, Rob Young gives us the full biography of a band that emerged at the vanguard of what would come to be called the Krautrock scene in late sixties Cologne. With Irmin Schmidt and Holger Czukay – two classically trained students of Stockhausen – at the heart of the band, CAN’s studio and live performances burned an incendiary trail through the decade that followed: and left a legacy that is still reverberating today in hip hop, post rock, ambient, and countless other genres. Rob Young’s account draws on unique interviews with all founding members of CAN, as well as their vocalists, friends and music industry associates. And he revisits the music, which is still deliriously innovative and unclassifiable more than four decades on. All Gates Open is a portrait of a group who worked with visionary intensity and belief, outside the system and inside their own inner space.
Book Two, Can Kiosk, has been assembled by Irmin Schmidt, founding member and guiding spirit of the band, as a ‘collage – a technique long associated with CAN’s approach to recording. There is an oral history of the band drawing on interviews that Irmin made with musicians who see CAN as an influence – such as Bobby Gillespie, Geoff Barrow, Daniel Miller, and many others. There are also interviews with artists and filmmakers like Wim Wenders and John Malkovitch, where Schmidt reflects on more personal matters and his work with film. Extracts of Schmidt’s notebook and diaries from 2013-14 are also reproduced as a reflection on the creative process, and the memories, dreams, and epiphanies it entails. Can Kiosk offers further perspectives on a band that have inspired several generations of musicians and filmmakers in the voices of the artists themselves.
CAN were unique, and their legacy is articulated in two books in this volume with the depth, rigour, originality, and intensity associated with the band itself. It is illustrated throughout with previously unseen art, photographs, and ephemera from the band’s archive.
